In Summer 2016 musicians in Tripoli gave a series of concerts at an outdoor seaside venue near the city’s downtown. Families attended and children made the grassy audience seating into a dance floor; members of the nearest militia arrived from their base around the corner and stood off to the side of the stage to watch. Media coverage of the concert series juxtaposed the mundanity of the events with a backdrop of urban militarization. Framed thusly as an exception to a norm of daily violence, music events are easily narrated as resistance to war or the stifled efforts of civil society. This paper suggests a counter-reading which investigates the entanglements of musical and military performances. Aside from lyrics that declare loyalty, how is militia power produced through sound? No militia members performed in these beachside concerts – and the music played had no overtly political content – yet the concerts, this paper argues, were one of many quotidian sonic practices in post-Gaddafi Libya that produced militia authority. The calm environment that enabled summer concerts was neither contrast nor accessory to militia authority; rather, it was a modality through which that authority became known to the populace and thereby constituted as integral to social life. Weaving performance ethnography (undertaken between 2011 and 2017) with an interdisciplinary framework drawn from geography, sound studies, and theories of performativity, this paper illustrates the concurrent production of multiple, contingent, contradictory, and overlapping sovereignties through sound in post-revolution Libya.